The Reappearance of Sapphic Fragments in the Italian Renaissance

Home , John Tzetzes, Joseph Justus Scaliger, On the Sublime, Wilhelm Xylander

Asian Journal of Language, Literature and Culture Studies

2(3): 1-10, 2019; Article no.AJL2C.51486

Anna Griva1*

1Schools and Courses of Humanities, Hellenic Open University, Greece.

Author’s contribution

The sole author designed, analysed, interpreted and prepared the manuscript.

Article Information

Editor(s): (1) Dr. Bayram-Jacobs, Dürdane, Department of Science Education, Radboud University, Netherlands. (2) Dr. Bakare Kazeem Kayode, Assistant Professor, Faculty of Education, Al-Medina International University, Malaysia. Reviewers: (1) M. V. Chandramathi, DPS, India. (2) Alan Garfield, University of Dubuque, USA. (3) Deepti Gupta, Panjab University, India. (4) E. Seda Koç, Namık Kemal University, Turkey. (5) Chun Yang, National Yunlin University of Science and Technology, Taiwan. Complete Peer review History: https://sdiarticle4.com/review-history/51486

Received 11 July 2019 Original Research Article Accepted 19 September 2019 Published 02 October 2019

ABSTRACT

In this article the survival of the Sapphic fragments of the ancient times in Renaissance period is examined. More specifically the reappearance of the Sapphic verses is presented concerning the first publications (editio princeps) and the most widespread texts of ancient authors during West Renaissance. These texts were the primary sources, on which the later publications of the Sapphic work were based, while they also had a great influence on the reception of the ancient poet by the Renaissance writers.

Keywords: Classical tradition in the Italian Renaissance; reception of Sappho; survival of the Sapphic poetry during the Renaissance.

1. INTRODUCTION Homer was ‘the poet’ [2]. Also, the Alexandrian grammarians included Sappho in the canon of In ancient times, Sappho's poetry was an object the nine lyric poets [3]. It seems, however, that of admiration, and many ancient sources refer to already in the 9th century A.D. the poems of her as the Tenth Muse [1] or ‘the poetess’, as Sappho have been disappeared: around 1550, ______

*Corresponding author: E-mail: [email protected];

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Jerome Cardan reports that Gregory of preserved in the Renaissance, also through Nazianzus had publicly destroyed Sappho's ancient sources. In particular, Ovid in Heroides, works, while at the end of the 16th century, in the fantastic letter of the poetess to Phaon Joseph Justus Scaliger claims that her poems [16], presents her to commit suicide because of were burnt in Rome and Constantinople in 1073 her love for him [17], while she mentions that she by order of Pope Gregory VII [4]. Similar had loved some women (XV, 17 and 201) [18]. information is also recorded by other writers [5]. When in the early 15th century this work became In fact, Sappho's works were probably lost since known again [19], it is considered to be a people stopped to copy them in the period that genuine Sappho's letter and influences the the parchment replaced the papyrus [6]. Until the image that scholars and artists form about her 6th century A.D. probably there are manuscripts [20]. The same image of the enamored Sappho which transfer directly the works of Sappho, but who committed suicide for Phaon is given by they seem to disappear by the end of this century Photius in his Library: the Library, which was first [7]. John Tzetzes reports that both Sappho and printed in 1601 by David Hoeschelius, influenced her work have been destroyed by the passage of the reception of Sappho, because the time [8]. However, during the Middle Ages there Renaissance scholars can find in this work are references to her poetic endowment, which information about ancient writers and their lost preserve her legend in writers such as Isidore of works. Another view of Sappho, the view of a Seville [9]. However, some of Sappho's verses sister who is worried about her brother, is met in survived in the following centuries through the Renaissance through Herodotus, whose work is references made by other writers to her in their first printed by Aldus Manutius in 1502 in Venice: works. the ancient writer refers to Sappho (II, 135) at the

th point where he refers the adventure of her In the 16 century Sappho is beginning to come brother Charaxus with the courtesan Rhodopis. back to the forefront, initially through the early Plato, who is also playing a key role in shaping editions of ancient writers who make references the intellectual environment of the Italian to her verses or to her life. In 1508 Aldus Renaissance, calls Sappho beautiful (Phaed. 235 Manutius publishes Dionysius of Halicarnassus, c.) [21]. The beauty of Sappho's art is whose work De compositione verborum (XXIII) emphasized twice in Alexiad of Anna Comnena contains the Ode to Aphrodite (fr.1) [10], where (XIV, XV), a work printed in 1602 by David the author admires her for her noble style. Also, Hoeschelius, which is of great interest in the late the work On the Sublime contains the fragment Renaissance world, because it comes from a 31, where the unknown writer records that the female pen of the Middle Ages, but also in poetess knows the happenings in the frame of another medieval work, the Synopsis historion by the erotic fury (ταῖς ἐρωτικαῖς μανίαις) [11]. George Cedrenus, printed by Wilhelm Xylander Although the first printed version of this book is in 1566: the Byzantine historian calls Sappho as made in 1554 [12], already in the first half of the th the first of the Muses. Catullus (51) makes a 16 century the work is widespread in Italy poetic adaptation of the fr. 31 of Sappho, where through manuscripts copied by the humanists. In the beloved he is referring to is a Lesbian [22] 1560 Henri Estienne proceeds to the publication and his love for her is causing to him the same of nine Greek lyric poets, including Sapphic symptoms as the symptoms of Sappho in the fragments [13], while in 1566, in the second abovementioned fragment. The poems of edition of the same volume, he widens even Catullus were first published in Venice by more the corpus of the Sapphic poems, through Vindelinus de Spira in 1472 and had a significant including apart from fr.1 and fr.31 forty more impact on the Renaissance [23]. Horace [24] fragments by the ancient poetess [14]. However, calls her in his Letters (1:19, 28) mascula the fragments included in Estienne's editions th Sappho, that is to say, male Sappho, a phrase were already known in Italy since the 15 which, beside the erotic intimations, implies the century, when the Greek scholars who came art and the momentum of her verses that have from Byzantium started to copy and publish been attributed to the male writers, since as a works of writers, as well as dictionaries, that poet he admires her and is influenced by her were previously unknown in Europe. These work [25]. works included Sappho's verses.

1.1 The Image of Sappho in Renaissance In Suda [26] there is a reference to two different persons with the same name Sappho: The first is Beyond Sappho’s own work [15], there is a whole Sappho from Eressos, married to Kerkylas and literature about her life and art, which is mother of Cleïs, while the second is Sappho from

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Mytilene, who was playing a lyre and committed In the medieval manuscripts, Sappho is suicide by falling into the sea, because of her presented surrounded by books and musical love for Phaon. The first Sappho is an aristocratic instruments, while in an engraving of 1501, lyrical poet and the inventor of the plectrum, and decorating an early version of Ovid’s Heroides, had a shameful friendship with Atthis, Telesippa appears as a priestess making a libation over a and Megara [27]. Earlier, Aelian in his Varia sacred fire encircled by women playing music Historia (Book ΧΙΙ) also talks about two different [34]. persons, a courtesan and a poet. It seems that Aelian attempts to respond to the slanders In later years, Sappho is portrayed in the against Sappho, which already appear in the Parnassus of Raffaello in the Vatican (Stanze di years of the late antiquity: the comedians of the Raffaello, about 1511), with the nine Muses, on Middle Attic Comedy, as Amphis and Antiphanes, the mountain of Parnassus, where Apollo is the wrote works with the title Sappho, of which only leader: in Renaissance there is the belief that fragments have been survived. In these works, Sappho is the tenth Muse. It is characteristic that although we cannot have a clear knowledge of in this work the name of the poet is written on a the content, it seems that Sappho is presented papyrus which she holds in her hands, so that as a courtesan, something that does not appear there is no doubt about her identity, but also her in works of the previous years. Also, Plato the distinct position in the poetic universe is Comedian in his work Phaon, as well as other emphasized [35]. fragments of the Attic comedy [28], talk about the poet's love with Phaon [29]. The positions of the Such depictions are known in the Italian comedians seem to influence several Latin Renaissance and determine the way in which writers: for example, Tatian, one of the earliest artists and scholars receive her personality and Fathers of church in his work Oratio ad Graecos her survived works. This reception is influenced (Address to the Greeks) (33-34) presents the by the references of previous writers: already in poet as an erotomaniac and lover of women [30]. the 9th century Sappho is portrayed as a woman The opposite view is given by Maximus Tyrius of magnificent talent see [36], and later (Dissertations, XXIV 7-9), who interprets Boccaccio in De Claris Mulieribus (1361-2) Sappho's relationship with women of her milieu presents her as a marvelous skilled model in in a spiritual base, like the relationship of poetry. Petrarca reports Sappho several times in Socrates with his students. Also, according to his works. In the poem Trionfo d 'Amore (IV, 25- Aelian, Solon asked to learn a song of Sappho 27), written about in 1352, describes Sappho as and then "he could die" (Stob. Anth. 3:29, 58); a young girl who sings sweet songs among other this episode shows the admiration of antiquity for great poets of antiquity: Sappho's work. Palatine Anthology also contains a lot of eulogistic epigrams (VII 14, 15, 16, IX Una giovene Greca a paro a paro coi nobili 251) [31]. poeti iva cantando, et avea un suo stil soave e raro. The fact that Sappho is the object of admiration [A young Greek next to the noble poets and interest in antiquity, but also in the years to singing, with rare and sweet writing] come, until Renaissance, is also apparent by the fact that there are numerous depictions of her In the tenth Eclogue (85-89) of the Latin work through the visual and plastic arts [32]. Her Carmen bucolicum (1346-1357) Petrarca suicide is the object of classical art, such as in envisions Sappho as a capable, educated young the Basilica of the 1st century BC in Rome, near girl (docta puella), singing love (cantabat amoris) Porta Maggiore [33]. Also, Christodorus in the and dancing among men (choris doctorum Ekphrasis (AP II 69-71) describes her statue in immixta virorum). Constantinople: Christine de Pisan in Le Livre de la cité des Πιερική δε μέλισσα, λιγύθροος ἕζετο Σαπφώ dames (1404) mentions her as an example of the Λεσβιάς, ἠρεμέουσα. μέλος δ’ εὔυμνον ὑφαίνειν cultivated woman, and speaks of women's rights, σιγαλέαις δοκέεσκεν, ἀναψάμενη φρένα without being interested in the subject of Sapphic Μούσαις. love [37]. [The Pierian Bee, Sappho the Lesbian, with the sweet voice sat, serene, knitting a In northern Italy, during the Renaissance, a new graceful song after the silent Muses put a trend emerges: lists of women [38] are compiled flame in her heart.] in which Sappho is always included as an

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exemplary case of personality and talent. Many unknown writers who were attracting the interest of these lists were women's commissions. For of the intellectuals. Indicatively, Jakob example, Margherita Cantelmo, although she did Questenberg, a papal official, in 1490, made two not know Latin, commissioned two lists written in transcripts of the Deipnosophists [42]. In August Latin, in order to address to a cultivated male 1514, Athenaeus is published by Aldus Manutius, audience demonstrating the spiritual abilities of edited by Marcus Musurus (Deipnosophistae, Ed. women. In 1480, Bartolommeo Goggio, in order Marcus Musurus, Venetius: Aldum Manutium et of Eleonora d'Aragona, wrote his own defense of Andream Torresanum, 1514). There is also women De laudibus mulierum (British Library another edition of Deipnosophists in 1535 in Add Ms. 17415). Goggio writes that Sappho of Basel (Athenaei, Dipnosophistarum, hoc est Eressos had six pupils and they were all more argute sciteque in convivio disserentium, lib XV, capable than the men of the time, while at the Ed Iacobo Bedroto, Christiano Herlino, Basileae: same time there was also Sappho of Mytilene, apud I. Valderum, 1535). who invented the Sapphic verse and she is considered to be equivalent to the Muses, of This work of Athenaeus includes the following whom she learned her poetic art. Indeed, it is Sapphic fragments: emphasized that Sappho had spiritual potentials as few male poets of her time. The Sappho of Lobel-Page 57 / 61Diehl / Cox 67 / Bergk 70 Mytilene fell in love with Phaon, while her verses (Athen. 21bc) are not inferior to Ovid [39]. Lobel-Page 82 / 80Diehl / Cox 75 (Athen. 15. 674e) Also, in Renaissance it is known that Sappho is Lobel-Page 122 / 111Diehl (Athen. 12.554b) an outstanding musician who renews the musical Lobel-Page 138 / 151Diehl (Athen. 13.564d) tradition: in Suda it is said that she invented the Lobel-Page 141/ Cox 47 (Athen. 10.425d) plectrum, and there are other references that Lobel-Page 143 / 118Diehl (Athen. 2.54f) preserve the relationship of her poetry with the Lobel-Page 160 / Diehl 11 / Cox 11 (Athen. music [40]. Ariosto in Orlando Furioso (Canto 20, 13.571d) I, 7-8) is referred to both her and Corinna in a Lobel-Page 166 / Diehl 105 / Bergk 56 similar way as two poets who are distinguished (Athen. 2.57d) for their abilities and their education (furon dotte) as well as for their fame (splendono illustri). In 2.2 Ammonius, On the Differences of England Thomas More composes epigrams, Synonymous Expressions where he refers to Sappho as the tenth Muse (Lesbica iam Sappho Pieris est decima) [41], The first edition of the work was done in Venice without mentioning her erotic life. in 1497 by Aldus Manutius and is included in the Dictionarium Graecum (Ed. Johannes Crastonus, 2. THE SAPPHIC FRAGMENTS IN THE 1497). In this work of Ammonius, the Sapphic EDITIONS OF ANCIENT GREEK fragment Lobel-Page 123 / 15Diehl / Cox 18 AUTHORS IN RENAISSANCE (Amm. 75) is included.

At this point, it would be advisable to study in 2.3 Apollonius Dyscolus, On Syntax and detail the early editions of ancient Greek writers, On Pronouns as well as the most widespread manuscripts, containing Sapphic verses. These sources are In February 1495 Aldus Manutius published in already widespread through manuscripts since Venice the four books of the work on Syntax the late 15th century and at the beginning of the (Apollonii gramatici, De constructione orationis 16th century in circles of scholars. libri quatuor). This work contains the Sapphic fragment Lobel – Page 33/ Diehl 9 / Bergk 9 / 2.1 Athenaeus, Deipnosophists Cox 9 (Ap. Dysc. Synt., 3.247). The same work is published by E. Boninus in 1515 in Florence The epitome of the 15 volumes of the (Apollonii alexandrei de constructione). Deipnosophists has a great impact on Renaissance Italy because of the information The work On Pronouns, which includes the contained about the daily life of ancient Greeks, Sapphic fragments Lobel-Page 32 / Diehl 10 / such as their nutrition and social conditions, as Bergk 10 / Cox 10 (Ap Dysc. Pron. 144a), Lobel- well as because of the numerous references to Page 40 / Diehl 8 / Bergk 7, 8 / Cox 8 (Ap. Dysc.

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Pron. 104c) and Lobel-Page 41 / 12Diehl / (Omnia Opera). Galen’s Exhortation contains the Wharton 14 (Ap. Dysc. Pron. 124c), survives in a Sapphic Lobel-Page -50 / 49 Diehl. unique manuscript in the codex Parisinus graecus 2548 (currently in the National Library of 2.6 Demetrius of Phalerum, On Style France), together with two other works of the same author (On Conjunctions, On Adverbs). So The book was published for the first time in 1552 it seems that the Sapphic fragments that survive (Demetrius Phalereus, De Elocutione: studio P. in the work On Pronouns were not widely known Victorii, Gr. Editio Princeps, Florent, apud in the 16th century. Juntas). In this work the following Sapphic fragments are included: 2.4 Aristotle, Rhetoric Lobel-Page 104a / Voigt 104a / Diehl 120 / In 1475 this work is published in Paris (Aristotle, Bergk 95 / Cox 92 (Demetr. Eloc. 141) Rhetorica, Ed. Iohannes Stoll and Petrus Lobel-Page 105c / Voigt 105b / Diehl 117 / Caesaris Wagner) in a translation of George of Bergk 93 / Cox 91 (Demetr. Eloc. 106) Trebizond (translated in 1443-1446). Between Lobel-Page 106 / 115Diehl (Demetr. Eloc. 1495 and 1498 Aldus Manutius publishes five 146) volumes of Aristotle, which were completed in Lobel-Page 114 / 131Diehl / Cox 104 1506-1507 with the works Poetics and (Demetr. Eloc.140) Rhetoric (Aristotle, Rhetorica, Poetica, Ed. Lobel-Page 156 / 138Diehl / Cox 115 Demetrius Ducas in Rhetores Graeci). Moreover, (Demetr. Eloc. 161s.) quite early, long before the publication of 168Cox (Demetr. Eloc.164)

Manutius, there were many manuscripts 2.7 Dionysius of Halicarnassus, On the of the Rhetoric: Vittorino da Feltre states that in his time Aristotle's numerous manuscripts Arrangement of Words were easily accessible in Florence [43], while he holds several volumes with works of the In 1508, Aldus Manutius published in Venice philosopher. The same fact is also testified by a some works by Dionysius of Halicarnassus, letter by Filelfo to Vittorino, dated in 1430, which (Dionysius Halicarnasseus, Ars Rhetorica & De refers to a loan of Aristotle's ‘dialectical works’. Compositione Verborum, Venezia, Ed Demetrius Also, a copy of the Rhetoric (Paris sup.gr. 1285), Ducas in Rhetores Graeci). In Dionysius’ work which was in the possession of Filelfo, had On the Arrangement of Words (D.H. Comp. 23) Vittorino's (ex-libris) stamp [44]; this indeed the Hymn to Aphrodite (Lobel-Page 1 / Voigt 1 / shows the early dissemination of the aristotelian Diehl 1 / Bergk 1 / Cox 1), which is the only works among the scholars. Rhetoric includes the complete Sapphic poem found, survives. The Sapphic fragment Lobel-Page (Arist. Rhet. Sapphic fragment Lobel-Page 113 / 130 D (D.H. 1367a) [45]. Comp. 25) is also included in the same work.

2.8 Hermogenes, On Various Kinds of 2.5 Galen, Exhortation to the Study of Style the Arts especially Medicine: To Menodotus In the rhetorical corpus that Manutius publishes in two tomes in 1508 (Rhetorica), Hermogenes is Already in the 9th c. Galen's works are included. widespread due to the practical nature of his work, so several translations of these works are In his work On various kinds of style are included circulated [46]. From the Middle Ages his works the Sapphic fragments Lobel-Page 105a / Voigt survive in Latin (the most popular are the Latin 105a / Diehl 116 / Bergk 93 / Cox 90 (Syrian. In versions of the text according to Burgundio of Hermog, Id. 1.1) and Lobel-Page 118 / 103Diehl Pisa and Nicholas of Reggio). Later, Niccolò (Hermog. Id. 2.4) are included. Leoniceno (1428-1524) is one of Galen's translators, and he accompanies his translation 2.9 Eustathius of Thessalonica, with an extensive introduction, while he also Commentaries on Homer's Iliad and writes an essay on the scientific method of Odyssey Galen. Indeed, when Calliergi and Vlastos prepare the volume of Galen (1500), they obtain The comments of Eustathius on the homeric texts from Leoniceno [47]. Manutius publishes in epics, in which the Sapphic fragment Lobel-Page Venice the corpus of the works of Gallen in 1525 34 / Voigt 34 / Bergk 3 / Cox 4 (Eust. Il. 729 20)

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is included, are particularly appreciated in the first half of the 16th century. In addition to the educated circles of the Renaissance: we know Parisinus Graecus 2036 codex, dated back to the that Bessarion obtains a new manuscript of these 10th century, there are a lot of manuscripts of the comments on Iliad (Marc. 461 and 462), copied work from copies made in Renaissance by and transported to Italy [48]. Later, Demetrius Bessarion, Janus Lascaris, Pietro Vettori, Chalcocondyles, wishing to study the homeric Ugolino Martelli, Diego Hurtado de Mendoza and works more adequately, also uses the others [51]. commentaries of Eustathius [49]. In 1496, Aldus Manutius published in Venice, as an aid to the 2.12 Plutarch, On the Control of Anger students of Greek, Thesaurus cornucopiae et horti Adonidis, which is largely based on Aldus Manutius, with the main responsibility of Eustathius' comments, alongside other sources, Demetrius Doukas, publishes the work Moralia in such as Etymologicum Magnum [50]. 1509 in Venice in a huge tome of 1050 pages: this work includes the book De cohibenda ira (On 2.10 Hephaestion, Enchiridion de Metris the Control of Anger) in which there is the Sapphic fragment Lobel-Page 158 / 126 Diehl / The editio princeps is made in Florence in 1526 Cox 25 (Plut. De cohib. Ira 456e) [52]. (Hephaestionis Enchiridion, Graece. Frorentiae, per Heredes Phillipi luntae). This work includes 2.13 Stobaeus, Anthology the Sapphic fragments: Stobaeus is published in Basel in 1532 by Lobel-Page 49 / Voigt 49 / Gallavotti 43 / Hieronymus Frobenius under the responsibility of Diehl 40, 41 / Bergk 33, 34 (Heph. Ench. 7.7) Sigismundus Gelenius. This edition contains only Lobel-Page 82 / 80Diehl / Cox 75 (Heph. some of the second part of the work, the Ench. 11.5) Florilegium. The full edition of Florilegium was Lobel-Page 102 / Voigt 102 / Diehl 114 / made in 1535 or 1536 in Venice by Bartolomeo Bergk 90 (Heph. Ench.10.5) Zanetti and Victor Trincavelius. Eclogues were Lobel-Page 110a / Voigt 110 / Diehl 124 / printed later (1575). In the work of Stobaeus the Bergk 98 (Heph. Ench. 7.6) Sapphic fragment Lobel-Page 55 / Voigt 55 / Lobel-Page 112 / 128Diehl (Heph. Diehl 58 / Bergk 68 / Cox 65 (Strob. 3.4.12) Ench.15.26) survives. Lobel-Page 115 / 127Diehl (Heph. Ench.7.6) Lobel-Page 117 / 129Diehl (Heph. Ench.4.2) 2.14 Maximus Tyrius, the Dissertations Lobel-Page 128 / 90Diehl (Heph. Ench. 9.2) Lobel-Page 130 / Diehl 137 / Voigt 130 / The works of Maximus Tyrius are recorded in the Bergk 40 (Heph. Ench. 7.7) Vittorino da Feltre’s manuscript list of 1445, Lobel-Page 131 / Diehl 137 / Voigt 130 / together with other authors, including Synesius Bergk 41 (Heph., Ench.7.7, v.ad fr. 130) [53]. However, there was no edition of Maximus 132LP / 152D / Cox 82 (Heph. Ench.15.18) until 1557, when he was published by Henricus Lobel-Page 140? / Bergk 62? / Voigt 140? / Stephanus in Paris. Maximus Tyrius (18.9) Cox 59 (Heph. Ench. 10.4) records the Sapphic fragment Lobel-Page 150 / Lobel-Page 154 / 88Diehl / Cox 49 (Heph. 109 Diehl. Ench. 11.3) Lobel-Page i.a. 16 / Diehl 93 / Cox 50 (Heph. 2.15 Julian, Epistles Ench.11.3,5) In 1499, Manutius printed in Venice the Epistolae 2.11 Pseudo-Longinus, On the Sublime diversorum philosophorum. In this corpus of the epistles made by Marcus Musurus the letters of In 1554, Frascesco Robortello publishes in Basel Julian are included: more specifically, Julian the work On the Sublime, attributing it to records the Sapphic fragment Lobel-Page 48 / 48 Longinus (Dionysi Longini rhetoris Diehl (Ep.183). praestantissimi free of grandio sublimiorationis genere ... as adnotationibus). This work contains 2.16 Palatinate Anthology or Anthology the Sapphic fragment Lobel-Page31-Voigt 31 / of Planudes or Greek Anthology Gallavotti 2 / Diehl 2 / Bergk 2 (Long. De subl. 10-3-3). However the work On the Sublime was Janus Lascaris in 1494 prints the Greek already widespread in Italy by manuscripts in the Anthology following the form of the work that

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Maximus Planudes had recorded in 1229 [54]. 3. CONCLUSION The dissemination of Greek Anthology among the poets is also illustrated by the fact that This article is a systematic and exhaustive Poliziano writes epigraphs imitating the models presentation of the Sapphic verses reappeared in of Greek Anthology [55]. In the second half of the a large number of publications and manuscripts th 15 century, Demetrius Chalcocondyles of ancient Greek authors in the West participates in the transcription of a copy (Laur. Renaissance. These texts were the primary 31.28) of Greek Anthology [56]. In 1503 Aldus sources, on which the later publications of the Manutius publishes the Greek Anthology Sapphic work were based, while they also had a with the Latin title Florilegium, which in Latin great influence on the reception of the ancient means anthology (Florilegium diversorum poet by the Renaissance writers. This epigrammatum in september libros, 1503). In presentation could be useful for the study of the Greek Anthology the following poems attributed literature of the Renaissance period, in which the to Sappho are included: literature and the art is influenced by the ancient Greek poets and their beliefs, but also for the 158 Diehl [Anth. Pal. 7.489 (Plan.)] study of the reception of the Greek poetry in 159 Diehl [Anth. Pal. 7.505 (Plan.)] Renaissance.

2.17 Etymologicum Magnum COMPETING INTERESTS

The Etymologicum Magnum, composed by an Author has declared that no competing interests anonymous lexicographer in Constantinople exist. around 1150, with main sources the two etymological dictionaries Etymologicum REFERENCES Genuinum [57] and Etymologicum Gudianum, was first published in Venice in 1499 by Zacharias Calliergi and Nikolas Vlastos, financed 1. Hallett, Judith P. Sappho and her social by Anna Notara. This dictionary contains the context: Sense and sensuality. Signs. following Sapphic fragments: 1979;4(3):447-464. 2. Parker, Holt. Sappho schoolmistress. Lobel-Page 36 / 20Diehl (Et. Mag., 485.41ss) Transactions of the American Philological Lobel-Page 37 / 14Diehl / Wharton 17 / Cox Association. 1993;123:309-351. 17 (Et. Mag. 576.23ss) 3. Ibid: 340. 120LP / 108Diehl / Cox 69 (Et. Mag. 2.43) 4. Reynolds, Margaret. The Sappho Lobel-Page 126 / 134Diehl (Et. Mag. companion. London, Vintage. 2001;81. 250.10s) 5. Petrus Alcyonius in his work Medices legatus, sive de Exilio (Venice, 1522) 2.18 Pollux, Onomasticon transfers the words of Chalcocondyles about the burning of the poems of ancient The first editions of the Onomasticon were made lyric poets by Byzantine emperors and in the first half of the 16th century, containing ecclesiastical authorities, because only the Greek text (Aldus Matunius, Venice, according to their opinion these works 1502, B. Junta, Florence, 1520, S. Grynaeus, talked about passions and madness of Basel, 1536). This work includes the Sapphic lovers. fragment Lobel Page 54 / 56Diehl / Cox 61 (Poll. 6. Reynolds, Margaret. 2001;18. 10, 124). 7. A parchment that survives in Berlin and th dates back to the 6 century records the 2.19 Comments on Aristophanes fragment 94 (Lobel-Page). But at the end th of the 7 century Paul the Silentiary The comments on Aristophanes survive in a already reports that Sappho's works are number of manuscripts [58], such as Veteno definitely lost (Reynolds, Margaret). Marciano 474, Florentino Laurentiano 2779, 2001;82. Mediolanensi Ambrosiano L, 39. In Aristophanes’ 8. John Tzetzes, On the Meters of Pindar, comments, the Sapphic fragment Lobel-Page 39 20–22. / 17Diehl/ Wharton 19 / Cox 19 (Schol. Ar. Pax 9. Isidore of Seville, Etymologiarum sive 1174) is included. originuum libri xx, 1.39.7.

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10. Also in the XXV of the same work, 15. Brenner, Carla McKinney et al. Τhe Dionysius rescues the verse of the poem inquiring eye: Classical mythology in οὐ γάρ ἦν ἀτέρα πάϊς, ὦ γαμβρέ, τοιαύτα European Art. National Gallery of Art, <ποτα> (Lobel-Page 113 / 130D). Washington. 1996;26. 11. Accordingly, Plutarch (Amat. 436) “The survived work of Sappho in that commented the dolorous passion of period contains the verses which are Sappho, referring to the fr. 31: ἄξιον δὲ related mainly to the expression of the Σαπφοῦς παρὰ ταῖς Μούσαις erotic feelings and to the deities that μνημονεῦσαι· τὸν μὲν γὰρ Ἡφαίστου παῖδα control these feelings, or to the poetic Ῥωμαῖοι Κᾶκον ἱστοροῦσι πῦρ καὶ φλόγας genre of the wedding songs: Renaissance ἀφιέναι διὰ τοῦ στόματος ἔξω ῥεούσας· responds to these themes through the αὕτη δ᾽ ἀληθῶς μεμιγμένα πυρὶ φθέγγεται erotic, as well as through the revival of the καὶ διὰ τῶν μελῶν ἀναφέρει τὴν ἀπὸ τῆς wedding poems and paintings, mainly in καρδίας θερμότητα ‘Μούσαις εὐφώνοις frescoes, which were a way of welcoming ἰωμένη τὸν ἔρωτα’ κατὰ Φιλόξενον. ἀλλ᾽ εἴ the newlyweds to their new house”. τι μὴ διὰ Λύσανδρον, ὦ Δαφναῖε, τῶν 16. Angelo Poliziano, Commento inedito παλαιῶν ἐκλέλησαι παιδικῶν, ἀνάμνησον all'epistola ovidiana di Saffo a Faone, ἡμᾶς, ἐν οἷς ἡ καλὴ Σαπφὼ λέγει τῆς Istituto nazionale di studi sul Rinascimento ἐρωμένης ἐπιφανείσης τήν τε φωνὴν - Studi e testi. Poliziano writes a comment ἴσχεσθαι καὶ φλέγεσθαι τὸ σῶμα καὶ on this letter of Ovid, which shows the καταλαμβάνειν ὠχρότητα καὶ πλάνον effect of this text on the Renaissance αὐτὴν καὶ ἴλιγγον. poets: see Lazzeri, E. (Ed.). 1971;2. [It is worth mentioning Sappho next to the 17. Strabo (X, 452) refers to the poet's suicide Muses. Because Romans say that the son from the rocks of Lefkata because of her of Hephaestus, Cacus, left out of his mouth love for Phaon, as recorded in a comedy fire and flames. So she really talks by by Menandros (Menandr. Fr.258 Kock). mixing her speech with fire and with her See also Palaif. 48, Ailian. P.I. XII 18, Ath. poems she talks about the heat of the II, 69 where Phaon was a local deity, heart, “healing love with the melodious corresponding to Adonis, and also a Muses”, according to Philoxenus. But beloved of Aphrodite, while the relationship Daphnaeus, if you have not forgotten your between Phaon and Sappho was a old love, remind us of the poem, where the misunderstanding of the comedians. beautiful Sappho says that once the 18. See Ov. Trist. II 365. beloved appears, her voice is lost and the 19. The editio princeps takes place in 1471 by body is flaming and becomes pale and Baldassarre Azzoguidi in Bologna. A lot of gripped of frenzy and vertigo.] Venetian editions was then published in 12. It is published by Francis Robortello in 1482, 1492, 1495, 1499 (Andreadis, Basel. The same year it is published in Harriett. Sappho in Early Modern England: Venice by Muret, in his comments on Female Same-Sex Literary Erotics 1550– Catullus. 1714. University of Chicago Press. 2001: 13. Estienne in the edition of Anacreon's 29), while in the 16th century the fame of poems (1554) had already included the work is expanded though new editions Sappho's fr.1, while in the second edition (Heroides, Amores, Ars amatoria, Remedia of the same book he added fr.31 together amoris, Medicina fédiquee, Aldus Manutius with the variation of Catullus (Ode 51). and Andrea Torresanus, Venice, 1515; 14. This edition of Estienne is the most Heroides, Amores, Ars amatoria, Remedia complete until the publication of Wolf in amoris, Medicina faciei femineae, Melchior 1733. Furthermore in the edition of 1556 a Sessa, Venice, 1527; Heroides, Amores, three-page biography of Sappho is Ars amatoria, Remedia amoris, included, in which the publisher refers to Sebastianus Gryphius, Lyon, 1554; the poet's reputable life until the death of Heroides, Ibis, Amores, Ars amatoria, her husband, to her beloved girls (puellas Remedia amoris, Ioannes Saurius, amatas) and το Phaon, the love for whom Frankfurt, 1599). led her to her tragic end. The publication 20. Most, Glenn W. Reflecting Sappho. Bulletin closes with Ovid's letter 15, from Sappho of the Institute of Classical Studies. to Phaon. 1995;40:15-38.

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21. In an epigram of the Palatine Anthology with Adonis's myth. In the myth Phaon attributed to Plato (IX 506), Sappho is appears as an ugly and old shipyard in characterized as the tenth Muse, while Mytilene, who was transferring inhabitants Aelian in his Varia Historia (Book l, 128) on the opposite coast of Asia Minor, until also states that Plato called her wise, and Aphrodite came to his boat disguised as an that there was a second Sappho old lady. Phaon transferred her to Asia courtesan, apart from the poet. Minor and did not accept a fee. In return, 22. Lesbian is the protagonist in the poems 25 Aphrodite gave him an ointment, which of 116 by Catullus. These reflect the transformed him into a beautiful young thematic and metric influences of Sapphic man and he fascinated many women with poetry on him (11, 51). his beauty. This myth is one of the 23. Famous in that period was the poetic characteristic folk fables that have been composition of the French poet Pierre de encountered since ancient times about the Ronsard (1560), according to Catullus quest of eternal youth and beauty, which standards. later alchemists claimed that can be 24. Horace, being one of the ancient writers attained through ‘elixir of life’. Τhis myth printed so early, exerted a special has often been the subject of the vase influence in the following years: Horace's painting, which means that it was very editio princeps takes place in Venice popular. Characteristic is the depiction of around 1471-2 (Braund, Susanna. The the young Phaon surrounded by the Metemphychosis of Horace: the reception Nymphs, Eros, Peitho and Himeros, in an of the satires and epistles Ιn Davis, ancient Attic red-figured cup, about 410 Gregson (ed.) A Companion to Horace. BC, exhibited at the National Museum of Malden). 2010;367-390. Palermo. 25. See the second Ode by Horace, where he 30. Seneca in one of his Letters on Ethics refers that even the souls of the dead refers that Sappho was a courtesan people hear with admiration her songs. (Letters to Lucilius, 88, 37). About the influences of Sappho on Horace 31. See Steph. Meleagr. ΙV. I6. see Nagy, G. Copies and Models in 32. For Sappho's depictions of vases, statues Horace Odes 4.1 and 4.2. Classical World and coins see Reynolds, Margaret. 87. 1994;415-426. 2001;69. 26. Already in the 15th century. Suda is copied 33. Hallett, Judith P. 1979;448. because of its practical use by the students 34. Reynolds, Margaret. 2001;83-84. of Greek (see the manuscript Laur.55.1.), 35. See the 17th-century Giulia Solinga (Il but also because of its widespread use by Codice di Giulia Solinga, BMCVe, ms scholars such as Francesco Filelfo or Cicogna 270, cf. 1r-12v, Il processo in Poliziano (Wilson, N. G. From Byzantium Parnaso in difesa di Sara Copio Sullam), to Italy: Greek Studies in the Italian which records a fantastic trial in the Renaissance. 2nd Edition. Bloomsbury Parnassus to defend the poet Sara Copio Academic. 2017: 43, 58, 121). At the end Sullam against her enemies. Among the of the 15th century, Demetrius judges is Sappho. It seems that the ancient Chalcocondyles published the same work poet became through her art a kind of in Florence, which exceeds 1000 pages goddess, taking a seat next to the Muses (ibid: 111): Manutius republished the same and Apollo. Such a picture reminds us of work in Venice (a re-edition of the editio the judges of Hades, Minos, Radamanthes princeps) in 1514. and Aiacus: as they have the eternal role 27. Suidae lexicon, s.v. "Sappho (1, 2)". of the judgemnet of the souls, so the 28. These fragments are included in: poets-judges define what will be called Edmonds, John Maxwell (Ed.). The poetry over the centuries. fragments of Attic Comedy. Brill Archive. 36. Schlesier, Renate. Sappho In: van 1957. The story of Sappho's love and Möllendorff, Peter et al. (Eds) Brill's New suicide is repeated by Strabo (Geogr. I, Pauly Supplements II – Volume 7: Figures 2.9). of Antiquity and Their Reception in Art, 29. Obviously, a confusion has gradually Literature, and Music; 2015. emerged between the biographies of 37. Reynolds, Margaret. 2001;82-83. Sappho and the myth of Aphrodite's love 38. On these lists see Kolsky, Stephen. The with Phaon, which has many commons Ghosts of Boccaccio: Writings on Famous

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Women in Renaissance Italy. Turnhout, 51. Refini, Eugenio. Longinus and poetic Brepols; 2005. Franklin, Margaret. imagination in Late Renaissance Literary Boccaccio’s Heroines: Power and Virtue in Theory In: van Eck, Caroline et al. (Eds). Renaissance Society. Routledge. 2017; Translations of the Sublime: The Early 122-130. Modern Reception and Dissemination of 39. Penrose, Walter. Sappho's shifting fortunes Longinus’ Peri Hupsous in Rhetoric, the from antiquity to the early Renaissance. Visual Arts, Architecture and the Theatre. Journal of Lesbian Studies. 2014;18(4): Leiden and Boston, MA: Brill. 2012;33-54. 415-436. 52. Plut. Mor. 243 b, 622 c, 406 a. 40. See also Ath. 635 and Plut. de Mus. ΙΙ36d. 53. Wilson NG. 2017;45. 41. Epigr. 15: Miller, Clarence H. (Ed.). The 54. See the autograph of Planudes (Marc.gr. Complete Works of St. Thomas More, The 481), which was a part of the collection of Latin Poems, Volume 3, Part 2. Yale UP; Bessarion. However, Lascaris seems to 1984. follow another manuscript and not the 42. Wilson NG. 2017;98. earlier Palatine Anthology (Wilson NG). 43. Ibid: 41. 2017;113. 44. Ibid: 44. 55. Wilson NG. 2017;126. 45. In the first book (9, 20), Aristotle refers to 56. Ibid: 130. the aforementioned fragment, though 57. Etymologicum Genuinum, which was which it is supposed that Sappho answers composed by an anonymous lexicographer to Alcaeus, when he writes that he cannot in Constantinople around the middle of the speak to her (Alc. 55). She tells him that he 9th century based on the texts of previous feels so because he does not have any lexicographers and commentators, good and beautiful to say (ἔσλων ἴμερον ἤ survived only in two manuscripts of the 10th κάλων). In the second book (23, 11-12), century: Codex Vaticanus Graecus 1818 (= Aristotle reports that the Mytileneans honor A) and Codex Laurentianus Sancti Marci Sappho, although she is a woman, and 304 (= B; AD 994), which were discovered that Sappho said that τὸ ἀποθνῄσκειν in the 19th century and to a large extent κακόν (it’s bad to die). remain unpublished. 46. Wilson NG. 2017;1-2. 58. See Dickey, Eleanor. Ancient Greek 47. Ibid: 134-136. Scholarship: A Guide to Finding, Reading, 48. Ibid: 74. and Understanding Scholia, 49. Ιbid: 111. The comments of Eustathius on Commentaries, Lexicas, and Grammatical the Iliad also exist in the manuscript of Treatises: From Their Beginnings to the Biblioteca Laurentiana 59.2-3. Byzantine Period. Oxford University Press. 50. Ibid: 154. 2007;28-31. ______© 2019 Griva; This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

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